Marlies’Artbeat: Massenet’s Opera “Cendrillon” Debuts at the Met

By Marlies Wolf – Opera Specialist

If it were not for the ardor and determination of the wonderful mezzo-soprano, Joyce DiDonato, Jules Massenet’s interpretation of the Cinderella fairytale would still be gathering dust. That is at least as far as the Met is concerned. A spectacular hit, (as were most of Massenet’s efforts, when it premiered in Paris in 1899,) it has now been performed in various venues, by the adventuresome Kansan super-star in the lead, and the imposing mezzo-soprano, Alice Coote, as Prince Charming.

The Met backs them up with a splendid cast including Stephanie Blythe (yet another, fabulous mezzo-soprano) in a clever and imaginative production by the French director, Laurent Pelly, who also created the often, hilarious costumes.

It is indeed a delight to view and absorb the artistry of the singers and the beauty of the sound of the Met orchestra’s sensitive playing, under the baton of Maestro Betrand de Billy. It is just that despite the tremendous enthusiasm by DiDonato and Coote, that the opera is full of love and hope, so needed in our time of “chaos,” it is the music that lets one down.

Frankly, I have always felt Massenet was overrated when cited as a major composer. It takes a powerhouse like Jonas Kaufmann, with his voice and fantastic acting, to put over Wherther with its one truly masterful aria. It is only after myriad hearings of the opera that one begins to appreciate other parts of the score. (I felt justified in my viewpoint when I overheard a patron of this Cendrillon exclaim: “One sure doesn’t leave the hall humming anything.”

Of the more than 30 operas Massenet composed, Manon, Thais, Wherter, Le Cid, and now Cendrillon, seem to be the only ones performed. Not that this is particularly unusual. We certainly are not able to hear all 1000 Vivaldi operas, or the lesser works of some of the most successful composers. But with Massenet it really comes down that even the extant works contain only one or two memorable moments.

Not that the composer is not to be admired for his life accomplishments. A fantastically disciplined creator, he is said to have risen daily at 4:00 AM, to compose for several hours, before arriving at his teaching position at the Paris Conservatory. There for 30 years he taught such future luminaries as Bloch, Charpentier and Enesco.

Preaching what he practiced, according to Janet Bedell’s informative program notes, his advice to students was: “Save your mornings for composing or orchestrating without waiting for inspiration, which otherwise never comes.” Unfortunately, in my opinion, when his came, it often fell short.

His 4-act Cendrillon would really be a bore, were it not for the droll entertainment quality of this production. The plot differs from that of Rossini’s familiar, La Cenerentala, as it does from the way the Cinderella tale has been in print or animation. It may even have been based on a factual story. The world credits Charles Perrault (1528-1703 ) with the invention of the “fairytale” genre, which is the literary re-telling of stories based on long existing folk tales. He pre-ceded the Brother’s Grimm, giving them tough competition with tales like Cendrillon.

As acknowledged, stories (especially those of librettos) evolve. This one basically deals with a motherless young girl, whose father re-marries, giving her a horribly mean stepmother and two selfish, ugly stepsisters. The trio manhandles her fiercely, reducing her to a full-time maid. In Cain’s libretto, “Lucette’s” repentant father is alive, and lovingly helps her. It is more involved psychologically; has the suggestion that the love sequences were simply dreams, but ends the same satisfying way, glass-slipper and all. (It solves one puzzle I, [and obviously others] always wondered about. How come the family does not recognize Cinderella at the ball? Cain gives us the reason: The fairy godmother’s glass slippers magically prevent recognition. (It helps to introduce logic into what we are willing to accept, even in a fairytale.)

Admittedly, the music is easy to take, not innovative, except in the use of a solo oboe as Lucette’s “signature instrument,” and the introduction of a viola d’amore, a lute, fifes and gong, not usually found in the pit.

The suffering, but ever so radiant Joyce DiDonato, not only is one of the superdivas of our time, but is an exceptionally fine actress. Who can forget her trembling hand as the physically broken, yet defiant Verdi Maria Stuarda? Or not appreciate her perky, yet refined Cendrillon? (Her willingness to take on contemporary challenges had her portraying Sister Helen in Dead Man Walking, by America’s most acclaimed and successful present-day opera composer, Jake Heggie.)

Britain’s Alice Coote, has become the current owner of most of the famous trouser parts. Her always reliable mezzo delivery put over the Prince Charming’s loneliness and “cure” as befits the tale well told.

Stephanie Blythe’s stentorian delivery has the Ur-Evil-Stepmother down pat – magnificently. The best Wagnerian Fricka around, here she was able to show her comic side, when henpecking the delightfully performing bass baritone Laurent Naouri (Pandolfe) and ordering around her ugly daughters.

All the clever choreography moving not only the ballet, but the busily involved chorus people, I presume was the work of Italy’s Laura Scozzi. It was a major contributor to the success of the fun-filled production. Before the start of the performance, when the camera eagerly pinpointed the many very young children in the audience, I was sorry that, what may well be their first exposure to opera, could not have been a score that falls into the ear. I hope all the visual effects made up for that lack.

The Soprano Kathleen Kim’s thrilling coloratura riffs came trippingly off her tongue as though totally effortless. Her Fairy Godmother was adorable. Would we all could have one like that in our corner!

The host for this season’s last HD transmission, was the sprightly Ailyn Pérez. Her exuberant “toi,toi,tois,” as she wished her colleagues well for their next acts, is an endearing reminder that backstage malicious competition has often just been a nasty fairytale.

Do catch the encore of this Cendrillon on Wednesday, May 2nd, 2018.